






















































































































































































































































































































































































































































































































































































































































































































































































































































































































































Class XXa^Z. 

Book...:.. 1._ 

GcpigMW_ 

CC5KRIGHT DEP08C& 











PROF. 

ROHRER’S 


ARTISTIC 

Marcel, Water, Permanent 
Waving 

and 

HAIR BOBBING 


Published by 

Prof. Rohrer’s Institute of Beauty Culture 
New York City, N. Y. 







Entered according to act of Congress in the 
year 1924, by Prof. Joseph Rohrer in the office of 
Librarian of Congress at Washington, D. C. All 
rights reserved. 

All British and Canadian Rights, including the 
Rights of Translation Reserved. Any person re¬ 
producing pictures or reading matter in this book 
will be prosecuted to the full extent of the law. 



©C1A793798 


'VMO l 


CONTENTS 


Page 


History of Hair Dressing in Ancient Times. 7 

Marcel Waving and its History. 9 

Temperature of the Iron . 10 

Proper Method of Holding Comb and Iron. 11 

Instructions for Preparing Hair to Practise on the Block ... 12 

Widtli of Various Waves . 12 

Different Sizes of Marcel Irons Used. 13 

Prof. Marcel’s Electric and Gas Waving Irons .. 13 

Directing Waves to Left and Right.14-22 

How to Wave Hair Worn without a Parting.23-25 

Matching the Waves . 26 

Undulation of the Back Hair.28-30 

How to Undulate Hair to droop over the forehead. 31 

Horseshoe Marcel . 33 

Marcel Wave with Center Part . 35 

How to Marcel and Curl Bobbed Hair. 36 

Waving Gray and White Hair . 37 

The Secret of Prolonging a Marcel Wave. 37 

Historical Coiffures .38-43 

Water Waving. 44 

Permanent Waving .45-48 

Hair Bobbing. 49 

Children’s Hair Bobbing. 49 

Buster Brown Hair Cut. 49 

The Sweetheart Bob. 50 

Dolly Bob. 51 

American Short Cut Bob . 51 

Ladies Hair Bobbing . 52 

Boyish Bob. 52 

Semi-Boyish Bob—with Bangs . 53 

Shingle Bob . 54 

Old English Bob—with Bangs . 55 

High Bob . 56 

Curly Bob . 57 

Egyptian Bob. 58 

Characteristics about the Hair . 59 

Formula for Straightening Kinky Hair. 61 

Statistics of Female Barbers, Hairdressers and Manicurists in 

the U. S. A. 61 

Sanitary Laws, Rules, Regulations, Licenses, Etc. 62 

Shop Window Dressing .. 62 

General Rules . 62 

Specialty of Hair Goods . 63 

Successful Salesmanship .63-66 

Publications Pertaining to Beauty Culture. 67 

Rohrer’s Famous Publications . 73 

Leading Professional Firms .74-77 
















































Prof. Jos. Rohrer 

World Famed Beauty Culture Teacher and Authority, licensed Podiatrist. 
Registered by the University of the State of New York 
Member of the New York Ladies’ Hairdressers Association 
Member of the National Hairdressers Association 



Her Highness, Madam Clara Roiirer 


The American Queen of Beauty Culture and World Renowned Teacher. 
Member of the New York Ladies’ Hairdressers Association. 
Member of the National Hairdressers Association. 





Sixteen years of unparalleled success in one place where thousands of Marcel 
Wavers and Beauty Culturists received their superior training. 

Honor To Whom Honor Is Due. 














































































History of Hairdressing in Ancient Times 

From the earliest times the care of the hair has been an important 
part of the toilet. The ancient Assyrians, Babylonians, Persians and 
Egyptians curled the hair and heard with the utmost care and even 
wore wigs and false beards. The Hebrews gave attention to the hair 
and considered it a disgrace to have a bald head. The Greeks con¬ 
sidered abundant hair one of the greatest marks of beauty—and Homer 
counts it among the gifts of Aphrodite. The various styles of hair¬ 
dressing which were used among the Greeks in very ancient times are 
shown in statues and some of them were very elaborate, both for men 
and for women; but in the Fifth Century B.C. men began to wear their 
hair more simply, either cut very short or left in its natural waves— 
while the women developed more elaborate styles. The custom of 
wearing false hair was brought from Asia to Greece and was for a 
time very popular. Until about 300 B.C. the Romans wore long hair. 
Even at the time of Cicero this custom still prevailed to a certain 



7 






extent, although the warriors and artisans of the period wore their 
hair short. In early times the Roman women wore their hair either 
flowing over the shoulders or gathered into a simple knot, but from 
the time of Augustus Caesar the fashions became more and more 
elaborate. During the greater part of the Middle Ages the hair was 
worn very simple, but by the Fourteenth Century more elaborate 
coiffures began to appear. The men during the Fifteenth and Sixteenth 
Centuries wore their hair rolled back from the forehead in a fashion 
similar to the later pompadour fashion for women, and their beards 
were tightly curled and gummed so as to stand out like a fan. For 
women, about this time, a fashion was prevalent of wearing a broad 
cushion or coronet, resting on a great mass of curled or crimped hair. 
Louis XIV of France had very long and abundant hair and the desire 
of his courtiers to imitate him brought about the introduction of long 
curled wigs. The custom of wearing wigs was general for about a 
century after 1650, and no attention, therefore, was paid to hairdress¬ 
ing for men. From about 1640 to 1670 women wore their hair curled 
and falling over the shoulders and covered with a veil of gauze. Tow ard 
the close of the Seventeenth Century, however, more elaborate fashions 
returned, and tall headdresses of lace and starched cambric were used. 
Under Louis XVI of France, hairdressing reached a point of elabora¬ 
tion which has been approached at no other period. The women built 
their hair into a sort of tower, which they stiffened with wire or hair¬ 
cloth, and upon which they wore a little cap or hat. There is a record 
of one style in which the hat was replaced with a model of a ship of 
war. By the beginning of the Nineteenth Century, elaborate hair¬ 
dressing for men had entirely gone out of fashion, and in most countries 
the hair was worn short. In the early part of the century, women 
dressed the hair very simply, letting it fall at the sides in a series of 
ringlets and catching it at the back of the head with a ribbon. This 
was gradually superseded by an arrangement of the hair at the top 
of the head. During this period, the hair was often arranged over a 
large roll in a style known as the chignon, or waterfall. The tendency 
during the last half century among civilized people has been toward 
simplicity in hairdressing. 


Marcel Waving and Its History 

One of the most epoch-making inventions of the hairdresser’s art 
originated in 1872 when Monsieur Marcel of Paris, the founder of the 
marcel wave “Undulation” which the entire profession celebrated his 
seventieth birthday in August, 1922, and for fifty years has been the 
highest art in hairdressing won unparalleled success all over the globe, 
that made his name immortal. 



An international celebration took place in London, England, on 
the twenty-eighth of July, 1908, namely: the “Fete Marcel,” given 
in honor of the famous inventor of the “Undulation Marcel” at Kings 
Hall, London, where the fete was held, and which was crowded by over 
500 visitors to welcome the great master. 













gjo ©JiRt‘61*, tK (Ju'tilox of llx’ ©3R( l (l&fi^€i,vv'fncf» wiff unmoiUifi 

&• wfucfi buo liatiofotmeO ifw CXxl of f>R>o£ex/ti ^mxthe&vt nq. - 

fe<3i8^.H^<dlzjfic topayulot of a ‘$&>Atan etmmnlUj fedtfe in tb ofycd. both 
->---■ ClUi.vlic (fbwmexaaf: : 

itolfeiMf & t(V j^fliRDf?.eaS6R.lWncuioc! fnj tfw^MA&xfo. otu) tfic 

,Bc’iwfoclox of out ‘fxofe.SMOn. 

CUftlSiiDDRfiSS Km 6cgm pxeoenk’£, lK 1908.m tK ilwup-Xaff -%om. 

oa a<hofum of ^mkatiori <^tahhu)G.f}y bb£»iiyfun & Smuy n (^ffeaytuwof ibj^dob^outto 

(P ^&UwAXr ^J&etfr 

of lftf^ituu>u!ooct) c'yxivfii.V IgintuiCjjlitfMoao (•brmmli.v JcmiSOn "(/ 


Ini name, 


Address Presented to Mr. Marcel on the Occasion of tiie Hairdressers’ Exhibition 
Held on July 28th, 1908, at the Kings Hall, London, England. 


Another more gigantic fete was given in his honor, namely, was a nine-day affair 
from October 9th to the 17th, 1922, at Luna Park (Port Maillot) in Paris, 
France, together with a great exhibition and festival. 


Temperature of the Iron 

Undulation is performed with a comb and a Marcel iron. If the 
iron is new it is absolutely necessary to first give it a proper oiling or 
greasing, then heat it thoroughly. By this means it will retain the 
warmth more readily and remain more flexible. One must know the 
exact temperature the irons should be before applying them to the 
hair. If the iron is too hot, the operation becomes a singe and not a 
marcel. 

It is always advisable to test your iron first on paper before .ap¬ 
plying to hair. If the iron scorches the paper—the iron is certainly 
too hot. 

NOTE—Do not lay down your comb each time you want to take 
up another strand of hairy as it is a waste of time and it looks very 
unprofessional. 


10 


Proper Method of Holding Comb and Iron 



Figs. No. 1 and 2 show how the comb and iron should be held, 
and it is very necessary as a preliminary practice for the operator to 



get these positions firmly grounded into his mind. It will be found a 
specially difficult matter to acquire the correct position for the thumb 
in holding the iron. During the opening of the waver it will be neces¬ 
sary to pay attention to the fact that it must be held firmly beween 



the second finger, the thumb and the base of the thumb. The index 
finger is used only during the turning of the iron. It will be advisable 
to practice how to hold the waver very carefully, and to open and 
close it, for asj long periods as possible, in order to obtain the required 
flexibility of the fingers. 


IL 





Instructions for Preparing Hair to Practice on the Block 


To accomplish a wave with success, it is necessary for the operator 
to have received a good drilling in the motions which have to be gone 
through. For purposes of practice it will be advisable to use a 6 in. 



broad frizzett, composed of the best 12 in. hair. The operator should 
fold this frizzett two or three times together and sew it carefully up, 
so that it presents two or three strands of two inches each in width to 
be practised upon. By making two eyelets holes in the top, the strands 
so produced can be fixed on a wooden head, and are then ready for 
practice. Very often old strands of used hair will do good service for 
this purpose. 


Width of Various Waves 

There are four different kinds of waves to be noted, namely: 

Narrow Waves—Require half an inch between their two crests. 

Medium Waves—Require two-thirds of an inch between their two 
crests. 

Wide Waves—Require five-sixths of an incli between their two 
crests. 

The wide wave, or extra wide wave, is the most preferred by the 
average lady. 


12 




Different Sizes of Marcel Irons Used 


Sizes A-B-C-D - waving irons are used according to individual 
preference. 


Prof. Marcel’s Electric and Gas Waving Irons 



ONsm 








GA$/r?Q/V 


All leading hairdressers use and highly recommend Prof. Francois R. Marcel’s 
Patented Electric and Gas Non-Hair Breakable Waving Irons. 

Electric Iron can be regulated to any desired heat. 


13 















Directing Waves to Left and Right 

Take the marcel iron in the right hand, the concave part turned 
towards the floor, open the waver, and take the prepared hair strand 
within the jaws of the iron. Take the comb in the left hand and begin 
to comb the hair strand. In this way the operator will quickly learn 
to grip the hair and stretch it. It is necessary in practice to keep 
the arms high. After an hour or so’s practice, when the operator has 

s 

Push Iron to the Right 



acquired the knack of combing the hair without it falling out of the 
comb, and is also able to stretch easily and loosely the hair with the 
waver, he may proceed to learn the position of the future waves. The 
future layers are produced by moving the comb in the left hand to 
the left, and the waver in the right hand to the right. To get the 
second layer, put the comb with the left hand in the hair strand and 
push the hair to the right, at the same time moving the waver with 
the right hand to the left. 


Push Iron to the Left 



Fig. 4 


14 
























lhc student will find that it was possible to describe Lesson I. in a 
much shorter space of time than it will take him to learn it satis¬ 
factorily. The practice prescribed was not to produce waves at 
once, but chiefly to force the hair composing the strand into the future 
positions which it is designed to occupy. This useful practice results 
only in the hair being stretched, and undulation is the term for curved 
stretched hair between each two waves. This curved stretching of 
the hair requires a special lesson for itself, and cannot be produced 
without long and patient practice. 

To get this result one places the comb held by the left hand in the 
strand, after having already gripped the strand with the iron held 



in the right hand. The hair is then lifted by the comb until it is above 
the iron (it is very necessary that during this process the comb must 
be close to the iron), and with both hands the comb and iron are then 
drawn downwards (see Fig. 5), the result being that the hair is drawn 
over the iron in curves. 

During the drawing down of the iron, it must not be forgotten that 
the hollow side which has been facing downwards must be turned slowly 
upwards, so that at the conclusion of the operation the concave side 
is facing upwards. 

During the next exercise the iron must be kept open, because 
otherwise the result will be that a series of broken and crushed waves 
will be formed. The operator will see from Figs. 5 and 6 that the 
iron has to be held in the right hand with the hair in its jaws, and 

15 




























both must be drawn to the right. At the same time the comb in the 
left hand draws the hair gently to the left. By reason of this manipu¬ 
lation the operator not only draws the hair over the iron in curves, but 
the hair is drawn in a proper layer to the first position. 



In Figs. 7 and 8 it will be seen how the hair is drawn in a curved 
manner to the second position by the maniplation of the iron and hair 
in the right hand, to the left, and the comb with the hair in the left 
hand, to the right. 


16 


















































The practice given in the previous sections will lead, if followed 
out carefully, to making the hand as well as the fingers flexible, and 



it ought to be possible at this stage of the proceeding for the operator 
to be able to make the iron and the comb perform the motions required 
from them almost involuntarily. 

Owing to the objects aimed at in the former lessons, the hair should 
already be in the correct position for forming the base or groundwork 
of the future waves. 

The construction of the first wave will now be done in the follow¬ 
ing way. 

Take the iron in the right hand with the hallow part downwards, 
open it, and lay hold of the hair strand which has to be undulated, 











































without, however, closing the jaws of the iron. Then with the left 
hand take the comb at its extreme end and place it in the hair under 
the iron. When this is done, draw the right hand containing the iron 
and hair to the right, and at the same time push the left hand with 
the comb holding the hair to the left; after the iron is closed the 
first wave will appear. 

To make the first wave more pronounced, and at the same time 



to draw the hair into position for the second wave, take the comb 
in the left hand and put it at a distance of three-quarters of an inch 
underneath the iron, in the hair; having done this, wind that part of 
the hair which is between the comb and the waver round the latter 
instrument in an upward direction, simply by turning the waver itself 
once round. (See Fig. 10). 

After reversing the movement of the iron the operator will find 
that he has got back to the former position as shown in Fig. 1. At 
this point he should open the iron without drawing it out of the hair, 
turn the concave part upwards and put it in the first wave. By 
studying Fig. 11 it will be seen to what angle the right hand should 
be turned. The thumb is now shown as turned right inside. 



18 
































Turn the iron with the right hand so that its concave side faces 
downward, being careful not to let go of the hair, at the same time 
combing the hair with the left hand to the right. Having done this, 
lift the hair up by means of the comb, put the comb and hair close 
to the iron and draw the comb and hair in a downward direction. At 
this stage in the proceedings the operator must close the iron, and the 
result will be that he will get the second wave. 



19 













































Fig. 14 


If the desired processes have been carried out correctly, it will 
be found that the hair between the first and second waves is nicely 
curved. 



To make the wave more prominent, now turn the iron in the right 
hand upwards, by which motion the hair will wind itself round the iron 
and take a still more pronounced curve. (See Fig. 15). 



The connection between the first wave and the second can be easily 
seen in Fig. 16. Open the iron without taking it out of the hair and 
put it in the second wave; after having done this, turn the hand inwards 
until the concave side of the iron is nearly facing upwards (see 


20 































Fig. 17). Having completed this motion, reverse the movement and 
comb the hair over the iron. 

From the figures the operator will get a good impression of how 
the undulation of the first and second waves is successively produced. 
To give a still better idea some completed waves are drawn as models 
and numbered, as in Fig 18. During the undulating of the second 
wave, the operator will find it advisable to keep the index finger of 
his left hand high, otherwise he may burn it upon the iron, which, 
however, must never be too warm. 

After having put into practice the directions set out in the first 
six parts of this treatise, on the block, the operator should now begin 
to work on the human head. 

It is advisable to find for the purposes of practice heads which 
have clean and moderately dry hair. In actual business life this would 
be a hard matter, as one has to take the heads as they come. Ladies 
who have their hair waved frequently know that the hair only becomes 
light and soft if it is clean. Before commencing the operation of 
undulating it is necessary to examine the hair carefully in order to 
find out whether there is too much or not enough natural grease present. 
If it is too dry it must be treated with oil or fat (Lanoline is a good 
preparation to use in some cases), and if it is too greasy, hair powder 
may be used. Hair having an excess of grease, and especially such 
hair as has too much natural fat, cannot be undulated at all. This 
fat, which is excreted from the fat cells of the scalp, will prevent the 
hair waving until the operation of shampooing has been performed. 

If the human hair is examined carefully, it will be found that there 
are three kinds, viz., straight, wavy, and curly, and in the case of 
very straight and fine hair undulation will require to be repeated 
frequently, as its effects soon wear off. 


21 








The first six parts of this treatise are, as I have said already, the 
ground work upon which the practice of undulation is based, and the 
future practice must be performed upon the human head. 

The exercises are more difficult to carry out on a human head of 
hair than on a hair strand, and it is necessary therefore for the 
operator to have plenty of practice on a head. The iron must be 
kept continually in the right hand and the comb in the left, and it 
will at this stage be necessary to learn how to hold the human hair 
with the iron. As the latter is rounded at the ends, it is consequently 
easy to pass it into the hair, but on the other hand, the hair just 
as easily slips over the iron, and this particular point will want a lot 
of practice. On no account must too much hair be gripped at once. 

The same thing may be said about the management of the comb; 
it is no easy matter to take the human hair with the comb and hold 
it in it. 



Undulation a la Marcelle, Paris 

Fig. 18 


22 





How to Wave Hair Worn Without a Parting 

When the hair is worn without a parting, a beginning is made just 
above the forehead. Lift the iron, concave side downwards, with the 
hair a little distance from the head. Repeat this movement several 
times until the hair stands fairly high, and then draw with the right 




hand the hair and the iron to the right, and the left hand containing 
the comb to the left. On closing the iron the first wave will appear, 
but really it is only half a wave because the hair has not yet been 
curved. 

To make the first wave more prominent, turn the right hand with 
the iron in the direction of the forehead through which process the 
hair will wind itself round the iron and will be kept in position through 
the heat. 

Now reverse the movement and put the iron in its old position, 
open it without removing it from the hair, turn the concave side down¬ 
ward, and put it in the wave already produced. 

The first wave, and generally every wave, must be doubly grounded. 


23 








The operator should keep in mind, that, as seen from the last 
description, two turnings of the iron have produced one wave. Follow¬ 
ing this one the second wave was produced, the formation of which 



has been already described in Part No. 5. The space left between the 
first and second waves may be left to the personal taste of the hair¬ 
dresser and the wish of his client. 

The average space left between the waves is usually about one inch. 












In moving the iron when commencing a new wave, one must be 
careful not to grip too broad a layer of the hair at once, since it will 
slip over the ends of the iron and a misplaced crease will be formed, a 
result which will be caused also very often through the wrong turning 
of the iron. In using a real Marcel iron, in which the jaws are well 
rounded, the sliding down of the hair will not be so dangerous, for 
the reason that it is easy to make the fault good again. As soon as 
the operator has formed several waves on the middle part of the head, 
it will be necessary for him to comb the waves thoroughly through and 
to repeat the undulation once or twice, so that the waves get thor¬ 
oughly set. 

The number of waves to be successfully undulated on the middle 
part of the head depends on the style of coiffure and whether this 
coiffure is to be high or low. In a low coiffure the front hair must be 
undulated almost to the points of the hair; during the waving of 
the side hair, it will be necessary to ascertain whether the lady wants 
the hair well forward over the ears, or brushed back, although this is 
regulated to a certain extent by the hair above the temples. 

Fig. 23 shows a high temple, as the hair begins to grow well back 
from the face. 


25 



Matching the Waves 

The first wave begins at the middle parting of the front hair 
(Fig. 24), and must be traced through to the right ear. The operator 



must take care whilst waving the side hair, that the waves run in the 
same direction as the waves of the front hair. To make absolutely 
certain of doing this, it is best when undulating a fresh strand of hair, 
to take as well a portion of the already undulated strand in the iron. 



Fig. 25 


In Fig. 25 we have a case where the hair grows low down over 
the temples. When this occurs the first wave must be undulated itself, 


26 









running in the direction of the eyes. Comb well through the middle 
part of the hair, after the undulation, until it stands fairly high and 
the second wave will finish at the ears, as shown in Fig. 26. 

Whether the first or second wave should be undulated first, depends, 
as already stated, whereabouts the hair begins to grow. The front 



hair should be waved first, then the hair on the right and left sides 
of the head, and then as may be seen from Fig. 26, the hair behind 
the ears. 

The first wave behind the ears which has to be undulated will be 
seen after the front and side hair has been well combed and stretched, 
for only then can we see where the connection with the front hair waves 
should be made. The first wave of the side hair will be a continuation 
of the third wave of the front hair. Consequently, the wave behind 
the ears is the first one which connects up the waves of the side and 
middle hair. When the hair behind the ears is being undulated, it 
will be necessary that the customer moves her head a little to one side. 
To connect up the waves of the hair behind the ears with the back 
hair, it will be necessary to form small semi-circular waves with the 
ends of the iron. 


27 



Undulation of the Back Hair 


The undulation of the back hair is the most unpleasant part of 
the whole business for the lady, because she has to bend her head 
forward during the process. Fig. 27 shows how to put the iron held 
in the right hand into the hair above the nape of the neck for the 


Fig. 27 



construction of the first wave. Fig. 28 shows how the right hand turns 
directly towards the neck to set the first wave more thoroughly. Fig. 29 
shows again in a different position how the first wave is set closer 
to the head and how to open the iron for this purpose. 



28 











Fig. 29 


Whether the first neck wave needs a connection with the hair 
behind the ears depends on the circumstances of the case. In some 
cases the hair on the neck begins to grow so low down that it will be 
necessary to produce the first wave alone, without joining it up with 
any of the other waves of the head. 



Fig. 30 shows how the first wave stands alone and how the second 
wave has a semi-circular connection with the side-hair. The same 


29 






figure shows the undulation of the back hair, as prepared for the 
construction of a high coiffure. 



Fig. 31 shows how the connections are made between the back hair 
and the hair on the left side of the head. To arrive at this result, one 
must be careful not to take too much hair in the iron at once, for the 
reason that if too much hair is gripped it will be impossible to form 
the necessary semi-circular connections. 

If the undulation has been properly performed, the waves of the 
left side hair in front of the ears ought to run in line with the waves 
of the back hair. At first, beginners will experience some difficulty 
to accomplish this. 


30 



How to Undulate Hair to Droop Over the Forehead 

After .the hair has been undulated, evenly, all around the head, 
the waves fall naturally away from the brow. Sometimes, however, 
the customer desires that the front hair should be dressed with a 



droop to one side, over the forehead (see Fig. 33). The hair has to 
be undulated accordingly. After the central division has been undu- 



31 










lated, the waves should be well combed out, thereby inducing a droop 
over the forehead, but not to a sufficient degree. The operator takes 
the iron, the hollow part facing downward, opens it and grips the first 
wave, inclining in a downward direction toward the eye. The iron 
must not immediately be closed herewith but the hair must be drawn 
by the round part of the iron toward the concave portion. The comb 
should hold the hair very loosely. Should the droop be required on 
the left side of the brow, the operator should stand behind the customer, 
insert the iron from above, into the hair and direct it towards the face. 

A marcel wave will last from three days to two weeks, depending 
upon the texture of the hair and its natural propensities for curling. 
When properly done, marcelling is absolutely harmless. 


32 


Horseshoe Marcel 



Fig. 34 


To obtain a horseshoe marcel, as shown in Fig. 34, divide the 
front hair in three parts. The first portion of the hair starts over 
the right eye by bringing the first wave to the right. The second wave 
is brought around a little to the left to correspond with the second 
following portion. The remaining waves follow in the same way. The 
second portion is waved straight back so as to correspond with the 
first portion. The third portion of hair over the left eye is started 
with a first wave to the right, then it is continued with the waves 
formed previously. 


33 





Fig. 35 


Marcel Wave for a Short Parting 


34 





Marcel Wave with Center Part 



wave in order to prevent the hair from falling on the face when placed 
at right side of the customer, then start to undulate the first wave 
as illustrated in Fig. 36. 

Above figure shows a loose and wider wave which lays flat on 
the forehead. (Fig. 37). 


35 




How to Marcel and Curl Bobbed Hair 



Fig. 38 


For marcelling bobbed hair, use same procedure as already described 
in preceding chapters, with the difference that the ends of the bobbed 
hair are to be curled in the following manner: After the marcel wave 
is obtained, open the iron with the hollow part downward, sliding the 
iron down to the end, rolling it upwards about two inches, in order 
not to obtain pin points—and at the same time, place the comb under 
the iron to prevent injuries to the scalp. 


36 


Waving Gray and White Hair 


There are two ways with which to perform a deep wave. For waving 
gray hair, it requires a fairly hot iron with least pressure upon the 
handles, and for white hair, it demsfcflds an iron with least heat and 
more pressure, in order not to become yellow if the ordinary heat 
is acquired. 

An untempered iron gives the operator no possibilities to obtain 
a successful marcel wave. 

The Secret of Prolonging a Marcel Wave 

The operator often wonders why a nice deep wave usually doesn’t 
last long. The reason of it is that there are different kinds of heads 
of hair which can not be waved by means of an iron; namely, those 
saturated with certain preparations, dyes and special lotions, those 
which have been freshly washed and those that contain natural grease 
which derives from the scalp. Coarse dry hair or bleached hair 
usually holds the waves. However strong the wave may be it usually 
disappears when coming in contact with the steam of hot water, damp¬ 
ness of the air or perspiration. Cold dry weather is most favorable 
for undulation. 


37 



Coiffure De Gala (Historical) 


38 



Coiffure La Noblesse (Historical) 








am 


Qssm 


■ 






r ?'■ 


/ . # 




tic. y 


■ - 


39 



CoirFURE De Theatre 


40 












Coiffure L’Aristocrate (Historical) 


41 




Coiffure de Ninon de Fenclos 


42 






Coiffure La Favorite 



/ 


43 



Water Waving 



Fig. 39 

Water Waving 


Supremacy in the art of water waving can be acquired if the artist 
has an eye for natural effect. One must bear in mind that tightly 
forced hair will give a crimpy unnatural look. It would be advisable 
to mix soft straight hair with the tightly forced hair so as to insure 
a natural wave. Great care should be taken in placing a postiche 
on a block so as not to get it too high or too low in the front. Water 
waving can be done also on the head or on a board. If a postiche is 
to be water waved on a board, wig points are used with the tape. First 
wet the hair thoroughly and evenly, then divide it into three or four 
inch parts. Comb your hair well and draw your first wave towards 
the left, pinning your tape on so as to hold it in place. Should the 
ends of the hair get too dry comb it continuously with a wet comb 
so as to insure smoothness in the subsequent waves. It would not be 
advisable to “bake” the postiche too much as such a treatment takes 
out the strength and invariably changes the natural tint. Fig. 39 
shows the effect after completion. 

The method of water waving is used to dress pompadours, bangs, 
front pieces, pin curls, etc. Only natural wavy hair can be dressed 
in this manner. 

As only actual practice makes the master, I would strongly advise 
the taking up of a practical course in this line of work in order to 
obtain the highest point of perfection. 


44 


Permanent Waving 

One of the greatest acquisitions to the profession was the invention 
of the Permanent Waving Machine. Proving by the substantial fact 
that in the United States alone millions of dollars are expended yearly 
for this modern art. 



Prof. Francois Marcel’s patented Permanent Waving Machines 
have been used in our schools and parlors for nearly fifteen years with 
the most marvelous results. 

The following describes Prof. Francois R. Marcel’s Permoil Perma¬ 
nent Waving System: 


45 



Prof. Marcel’s Permoil Permanent Waving 



1. Wash hair good. Separate strands of hair in sections of about 
three quarters of an inch if the hair is thick and about one inch 
if the hair is thin; one all around front of the head. 

2. Tie curling pin with fine linen cord to each strand of hair, leaving 
a space of about a little less than a half inch from scalp. 

3. Twist hair once or twice, same as for round curling; proceed to 
wind hair either double round, half round or flat around rolling 
part of pin smoothly. Tie ends of the hair on the rolling part 
of the pin. If the hair is long, leave about one inch of the hair 
unwound, for the reason that if you will wind it full length, the 
hair will be hard to comb out. 


46 







4. Grasp end of pin where flat part is, with pliers, firmly, and turn 
rolling parti of pin until hair is firmly stretched. Push pliers up 
and lock pin. 

5. Dip a small sponge in permoline and saturate wound hair on 
curler well. 

6. Cut as many pieces cotton-flannel as you have curls. Soak them 
well in permoline. Wring them out a little and pile them up. 
Prepare some permoil in a dish. Pick up one of your cloths, wooly 
side facing down, pass it over the permoil and wrap same over 
your twisted hair which is already saturated with permoline. 

7. Adjust pad between roots of hair and curler before putting on 
tubes. 

8. Put the required amount of paper tubes into a basin of water, 
so as to get them good and wet. Raise them with the white part 
standing up. Insert curler in paper tube, pushing pin down as 
much as possible. 

9. Insert cord into pliers and twist around projecting screw. Slowly 
pull pliers apart. Restart until cord breaks. Special care must 
be taken in tying the cord very tight, so that steam cannot go 
through. 

10. Insert tubes in ovens. 

11. A little cotton can be put under pads before adjusting heaters in 
position around the head, in case steam should escape. 


47 


Baking 

12. IMPORTANT —See that the bakers are placed in such position 
that they cannot touch the scalp. If pads do not cover the 
entire scalp, put cotton between each heater. 

13. Place your time on even hour. In this manner you will not forget 
how long you are baking. 

14. Turn on current. 

15. Let full current on for about ten or fifteen minutes. Close tops 
of tubes with an orange stick. Do not use anything steel. If 
you see that the current is too strong after reducing to first bead, 
reduce to the second or third bead. If you have tubes that do 
not seem to be heating as fast, increase the heat on those tubes. 

The reason the heating varies is because some tubes are damper 
than others, or perhaps one tube has more glue on it or more hair 
in it than another. Bake from twenty-five to thirty minutes. 
The time depends on the strength of the current and on the 
speed you are doing the baking. The slower the baking, the better 
it is for the hair. Before closing heat, put heat on full for 
about two, three, or five minutes, so that the tubes will steam 
good, as hair must be good and dry. Close your heat and let 
the heaters remain on the head until they are cold. 

16. Remove heaters and tubes. Unwind hair from the pins. If the 
hair is still damp, dry with the dryer. 

17. Put soap all over the hair and wash well in plenty of luke-warm 
w r ater. Press the hair together and dry in towels. In drying, 
try not to pull too much on the hair. Permanently waved hair 
is handled like naturally curly hair. You can use dryer after 
washing if you so desire. Comb each curl separately from the 
bottom up. In this manner you will not pull the hair. 

Remarks 

1. FOR WHITE HAIR —Put a layer of cheese-cloth over the pin 
before twisting the hair. 

2. FOR BLEACHED AND DYED HAIR —Do not curl hair that 
you find like elastic or sticking together in washing. 

3. BOBBED HAIR —Bobbed hair is done on the same order as 
long hair, with the exception that you must take the stubby part 
together in a little piece of cheese-cloth and wind it on top of 
the pin. 

IMPORTANT —Never cut hair before curling it. Leave it as 
long as possible and after curling the hair you can cut it to the 
desired length. The longer the hair is, the easier it is to stretch it. 

4. Never put your client in a steel chair or near a radiator. If you 
have a cement floor, cover with carpet. 


48 


Hair Bobbing 

Bobbing is a very pronounced style all over the country at the 
present time. 

Place the patron in a chair, the back of which does not come up 
too high, then proceed by brushing all the hair into the position you 
intend the finish to be. If there are going to be bangs, cut out the 
bang line to begin with, then the length line at the ears, and lastly the 
back shape. Start again at the back, and comb the hair down to shape 
in sections, fine off the ends with a shingling action. Then go over 
the entire head with the fine end of the comb to be certain the lengths 
fall accurately. When the hair has simply to be trimmed, commence 
at the back, working around to the ears, and finish off at the bangs. 

A hand or electric hair clipper should be used on the back of the 
neck, always applying talcum powder first. 

There are many interpretations of the bobbed style. 

Children’s Hair Bobbing 



Fig. 43 

Buster Brown Hair-Cut 

This is the most popular haircut for boys. It may either be 
clubbed or tapered, and may be cut vertical or oval. The operation 


49 




should begin at the center of the neck, taking care not to cut the hair 
shorter than the hairline at the neck. To accomplish a perfect 
Buster Brown, cut directly on line with the ear, or allow the lobe to be 
shown. The bangs of this haircut begin on< the crown of the head. 

This style can also be used for little girls as the cutting is the 
same for boys and girls up to a certain age. 

The Sweetheart Bob 

for children. (This style has also been adopted by the young miss.) 
It is very becoming and is done the same way as a Buster Brown but 
the bangs are cut in a V shape, which gives a very soft expression. 


50 


Dolly Bob 



Doixy Bob 


Cut a trifle longer than the Buster Brown, and the ends are curled 
up just a little. 


American Short Cut Bob 


The typical American bobbed, or short cut style for girls always 
worn with a large “Poppa” Ribbon bow. The bang is cut absolutely 
hard across the brow and at the ears the ends are sheared off as 
sharp-cut as possible, and the same with the back portion. 


51 






Ladies’ Hair Bobbing 

The Boyish Boh 



The Boyish Bou 


The boyish bob is performed in the following manner. The hair 
is parted to the preference of the customer, then cut the desired length 
all around the head. The lower back hair must be divided into layers and 
tapered close to the head. The boyish bob gives a round shape to the 
head, resembling in a way a man’s style hair-cut. 

Illustration shows a Boyish-Bob water-waved. If hair is not 
natural curly, this style hair-cut should be worn straight. 


52 



Semi-Boyisli Bob—With Bangs 



Semi-Boyish Bob 


The operator should study the type of the customer and judge 
whether or not it is advisable to cut bangs as on the average person 
it gives too severe a line. 


The Semi-Boyish, as the name implies, is performed in the same 
manner as the Boyish with the exception that the top layer of the back 
hair is left longer and the under layers are shingled up only a few 
inches, as seen in the illustration, giving a V shape. 


53 



The Shingle Bob 



The Shingt.e Bob 


The Shingle Bob, a sort of Boyish Bob is done as follows: 

The front hair is cut about 8 inches long. The back hair is 
gradually tapered about six inches so that the cut ends of the hair are 
exposed. The top layer falls with its points so as to meet with the 
points of the first layer. The front hair and top hair should be waved 
as the Shingle Bob styles requires a marcel wave which completes this 
fashionable bobbed hairdress for certain types. 


54 - 


The Old English Bob with Bangs 



The Old English Bob 


This style can also be worn without bangs. The back hair is shingled 
and curled under very high, which gives the effect as pictured above. 
This is particularly recommended for those having coarse hair. 


55 


High Bob 



High Bob 


This bob is cut just like a straight bob to just a couple of inches 
below the ear, so that when it is marcelled and curled it will be just 
the ear length. Part the hair at the left center, or as preferred. Curl 
hair in back, from ear to ear, from five to seven rows high, depending 
upon the amount of hair patron has. Marcel the top and sides as 
illustrated and finish by adding another row of curls all over the head, 
starting from the top-center down to the ears. 


This curly bob makes a very fashionable and desired hair dress 
and lends itself gracefully to both day and evening. It can be worn 
with a ribbon band or a colored ornamentation of some sort for the 
afternoon tea dance or the evening wear. 


56 


The Curly Bob 



The Curly Bob 


This bob is cut in the same manner as a shingle bob—the top hair 
is left' perfectly straight, while the ends of the hair, sides and back ure 
curled under. 


57 






Egyptian Bob 



Egyptian Bob 


The Egyptian Bob is a straight cut bob all around the head, worn 
with bangs only and is not supposed to be waved, as shown in above 
illustration. 


58 


Characteristics About the Hair 



Differences in the Hair of the Three Races 
European’s Hair Mongolian’s Hair The Negro’s Hair Grows 

Out in a Crescent Shape 


The hair of the European comes in all colors, from jet black to 
an almost albino white, and its root is attached to the skin in such a 
manner that it gently slopes backward. 

The mongolian’s hair is always straight and black, and has a 
peculiar dull color. Its root is attached in the skin in a perfectly 
straight manner, and if allowed to stand by itself without any training, 
would stick up perfectly straight. 

The negro, on the other hand, has a glistening black, kinky hair, 
very coarse and strong. Its tendency to curl is so pronounced that 
its root is curled even within the skin. 

The color of hair depends upon four factors: 1. Diffused pig¬ 
ment. 2. Granular pigment. 3. Air contents. 4. The superficial 
character of the hair; the cortex plays the chief part in determining 
the color of hair. The difference in the pigment is due to the different 
proportions of the chemicals which compose the coloring matter. Hair 
has been found in every hundred thousand as long as four feet. In 
one instance in the case of an Indian youth it was found to be ten 
feet long. 

The number of hairs in the average eyebrow is about 600. The 
average life of each hair in the eyelashes is only four months. There 
are usually about 420 hairs in the eyelashes. The number of hairs 
on the average person’s head is 100,000. 

Blondes have more hair than brunettes, and red-haired people have 
the least. The average is 1000 hairs to the square inch. Blondes have 
about 140,000 hairs, brunettes 100,000, and red-haired people 90,000. 


59 













Ordinarily dark hair is far finer than red and over three dark 
hairs take up the space of one red one. But fair haired people are still 
better off; 140,000 to 160,000 are quite a common number of hairs on 
the scalp of a fair-haired man or woman. 

Hair grows faster in summer than in winter, also faster in the day 
than in the night, changing from one climate to another sometimes 
checks the growth and sometimes stimulates it. 

Hair frequently grows on persons after death and sometimes for 
years thereafter. 

Hair is a most deceiving thing. There are a hundred varieties. 
The hair grows approximately eight inches a year. White hair is 
the most beautiful of any hair. 

Hair never decays, it may last thousands of years, as in Egyptian 
mummies. It has a great attraction for water, but this property is 
counteracted by the oil that is poured out upon it. 

Whether hair is straight or curly depends upon the shape of its 
cross-section to a great extent. The straight hair of the Japanese 
or native American is cylindrical in contour, and when cut across gives 
a circular section. The hair of the English speaking races is oblong, 
the average length being twenty-five inches, while that of the negro 
gives an oval outline. These facts show, then, how impossible it is 
to make curly hair out of straight hair, or straight hair out of curly, 
although various lotions have been made which will keep the hair in 
curl temporarily by simply stiffening it into shape. 

Each hair on the head usually lives only about four years. The 
average length of the hair of Europeans, both sexes, is twenty-five 
inches. Dark hair prevails in France. Light or blonde hair is finer 
than dark hair, hence there is more of it to the square inch. Mild, 
even climates are best for the hair. Four hairs stretched out together 
will support a weight of about one pound. 

Dark hair denotes great bodily strength, wiry muscles and an 
energetic, determined and persevering character. Light hair denotes 
a lively character marked by vividness of conception, intensity of 
emotion, liveliness of imagination and refinement of tastes. 

Fright has been known to turn the hair white in a single night. 

Hair derives its nourishment from the papilla. The color of the 
hair is due to a pigment given off at the very tip of the papilla. 

Light or blonde hair contains more oxygen and sulphur than any 
of the other shades, but less hydrogen and carbon. Red hair contains 
more carbon than any of the other shades, but less hydrogen, oxygen 
and sulphur. Black hair has a larger proportion of oxvgen than 
carbon and hydrogen. 

When the pigment cells fail to receive the required nourishment, 
hair turns gray. Gray hair is merely colorless. 

Application of creams does not stimulate the growth of hair; if 
so it would be world-widely used as a hair-grower. 


60 


Formula for Straightening Kinky Hair 

Remove all fat from hair by washing it with soap and water, dry 
—then apply the following cream strand by strand. Use rubber gloves. 

In an enameled pot or earthenware jar add: 

2 ounces of gum tragacanth 

1 ounce boracic acid 

3 pints of warm water. 

Stir frequently with wooden paddle until no more lumps, but uni¬ 
form, paste is formed. 

Add now to this paste a solution made from: 

2 ounces of sodium hydroxide. 

2 ounces of potassium hydroxide. 

8 ounces of water. 

1 ounce of glycerin. 

Mix very thoroughly together and if perfectly incorporated add 
at last: 

2 drachms of oil of lemon, mix well and keep in well covered glass 
or porcelain jars. 

Having this paste applied to the kinky hair, leave it on for about 
one hour, then wash off with water. 

For very coarse hair it will be sometimes necessary to repeat the 
operation. 

Under regular conditions it will keep the hair straight for about 
four or six weeks. 


Statistics of Female Barbers, Hairdressers and 
Manicurists in the United States 


The 33,246 female barbers, hairdressers and manicurists in the 
United States on January 1, 1920, were distributed by color or race, 
nativity and parentage, as follows: 


Native white, native parentage. 

Native white, foreign or mixed parentage 

Foreign-born white . 

Negro. 

Indian. 

Chinese . 

Japanese . 


10,64? 

6,268 

3,545 

12,660 

12 

2 

112 


Is it safe to say that at the present date we can add 10,000 more 
professionals to the above figures. 


G1 









Sanitary Laws, Rules, Regulations, Licenses, Etc. 


Up to the present time there are only a few cities and states in 
this Union where licenses are required to practice Beauty Culture, etc. 
But sooner or later many others will adopt same. 

Beauty Culturists must be governed by the laws of their State and 
can get full information from their associations, societies, Board of 
Health, or by writing to the Secretary of Medical Examiners in the 
Capital city of the State, district or territory, in which they intend to 
practise. 


Shop Window Dressing 

“I don’t like this shop; it’s always in a muddle.” How frequently 
we hear this expression. It is necessary that the goods be selected 
with careful attention as to what is likely to “look well” for many 
things are set off to better advantage under glass. 

There is an old saying that “Goods well displayed are half sold.” 
This is true; and it is just as true of your goods as it is of any goods. 
You will get a better class of trade and better prices. The cost of 
attractiveness is little, but the difference in profits will warrant the 
extra expenditure. It is only human nature to desire those goods that 
look well in the store. 

There are no fixed rules for window-dressing, but taste and judg¬ 
ment must be brought to bear. By all means be “up to date,” even 
if your sale of goods is limited; do not fear to purchase a few novelties 
for they lend attraction to the stock, and often aid the disposal of 
ordinary lines. It would be a hard task, indeed, to direct in writing 
the arrangement of a shop w indow; but there are a few 

General Rules 

which always govern its attractiveness and profitableness: 

Make your window^ at a glance show the goods you deal in. 

Always have two or three prominent features in it. 

Avoid overcrowding and covering up saleable stock. 

Ticket your goods; would be customers like to know the prices 
without inquiry. 

A good light in the evening is indispensable, but if your window is 
illuminated from the top, avoid having carded goods near the glass; 
they are imperfectly seen and obscure the light. 

Make a point of re-arranging your window at regular times. 

To those in the trade who make a 


62 


Specialty of Hair Goods 


one or two wax-figures with hair tastefully arranged is almost a 
necessity. If revolving machines are not employed, the figures should 
be raised on suitable stands and placed in such a position as best 
shows the head-dress—a mirror at the back being of great advantage 
in this respect. A “flooring” of crimson plush or dark velvet, with 
fringes, toupees and such like work and a stand on either side with 
hair tails suspended thereon looks well, and ornaments for the hair, 
with a few toilet adjuncts serve to fill up where necessary. In decorat¬ 
ing a case of this character, however, do not cover up every space, 
as each article has its own importance and loses by being mixed up 
with boxes of soap, penny curlers, and cheap curling-irons, etc. 
Think carefully as you proceed, and do not indulge in a haphazard 
style, with the idea that goods in the window are sure to sell. Believe 
me, it is frequently a mistake, for if your stock is not well displayed 
your patrons are not likely to be numerous. Bring method and taste 
to bear and the result will doubtless be an attractive shop window 
and a pecuniary success. 


Successful Salesmanship 

Business extension and expansion is the order of the day. Small 
stores selling single lines of goods are giving way to modern depart¬ 
ment stores all over the country. Consider the drug stores, for 
example. They no longer depend upon the sale of drugs and the 
filling of prescriptions. 

Getting and holding the trade for the hairdresser’s parlor is often 
a simpler matter than the proprietors think. Care for the smaller 
details, cleanliness and willingness to give your patrons all the service 
possible—Personality, Appearance and Business Building are the three 
main factors in making your business more profitable than it has been 
and than that of your competitors. 

Customers appreciate new devices that add to their comfort. A 
good chair, clean air, an electric fan in the summer time, a quiet parlor, 
all make the customer feel at home and will help to create in patrons a 
good impression which will bring them back. 

With poor or indifferent work, there is nothing to satisfy your 
customer, and therefore nothing to draw her to you against all others. 
This is important to you. 

Advertising is the education of the public as to who you are, where 
you are, and what you have to offer in the way of skill, talent or 
commodity. The only one who should not advertise is the person 
who has nothing to offer the world in the way of commodity or service. 


63 


Do not sit with folded arms and wait for customers to come to 
you, but you go to your customers. Do not wait until you have made 
a customer by them coming to you. Go out after them and make 
them your customers and patrons. But how can you do this? Use 
advertising. Use the circulation system in their post boxes. Get 
names of those who are interested in having hair dressing and beauti¬ 
fying done, and push your business, and when they come to you, do 
not disappoint them. 

Don’t start a cheap place. Have your prices at the top and try 
to maintain them. You can always lower a price, but to advance a 
price is almost an impossibility. You know a cheap doctor never has 
a following, where a high-priced physician has to work day and night v 
so it is in all professions, and it will be in this beauty specialty. Be 
the best and be busy. 

One cause of the sick person’s failure is his terrible selfishness: 
The persons who are compelled to think continually of their own ills 
are not those to give the world service. To be able to give the world 
real service you must be able to forget yourself and think of your 
work only. Only the well person can love his work and only the one 
who loves his work can render efficient service, and only the one who 
can render efficient service can be a business builder, and only the one 
who can be a business builder can be a success in the business world. 

Since you are in the business world you want to be a success and 
to get the reward of commercial success—Money. That is a legitimate 
ambition. You should be proud of it. 

Positions are more permanent. Steady growth opens up various 
promotions. Regular assured trade permits the management to be 
more liberal in its rewards to salespeople or operators. 

But it is up to the salespeople themselves to give their store 
the character and reputation that leads to such rewards. The man¬ 
agement can not do it alone. The salesman or saleswoman, however, 
who fully realizes the value of genuine kindness and courtesy, will see 
in the incident a chance .to make a new friend for the store. 

A roomy show window appropriately trimmed is your best and 
cheapest advertising and it should be dressed so as to imply the 
nature of your business. 

The spirit, a sincere willingness to oblige, should surround every 
contact between salesman and saleswoman and their customers. Often 
it means extra pains in suiting the customer who is making a small 
purchase. Special satisfaction with the small purchase will lead to 
larger ones later on. 

Sometimes it means patience with a customer who is nervous and 
irritable. They may not show it at the moment, but such people almost 
invariably appreciate courtesy more than those who are more courteous 
themselves. In every case an opportunity to oblige a customer or 
visitor is an opportunity to insure a better future. We all agree that 
tact and diplomacy must always be exercised when approaching an 


64 


old customer regarding the matter of bringing in some of her friends, 
which make sales for yourself and to increase the business of your 
store. It costs nothing—the attitude that makes customers say, “They 
are so courteous and accommodating they make you feel at home.” 
You can’t charge for it, but it earns by certain profits. 

Any ambitious man or woman can become an expert salesman by 
learning the principles of salesmanship discovered by master salesmen 
and by practicing the methods they advise. The real “boss” of every 
salesperson is the customer. Good salesmanship always gets a cus¬ 
tomer’s good will along with his money. Lack of confidence is the most 
gigantic obstacle that springs up in the path of those seeking success. 
Self-confidence, convincing your customers that you, your goods and 
vour store are right, is the foundation of successful selling. Respect 
the customer whether he deserves it or not, as long as he is inside your 
store. Be friendly, courteous, but never be familiar. 

The four great commandments of salesmanship are: Be clean, 
be truthful. Know your goods. Serve your customers. Customers 
are often mistaken in their requests. The good salesman helps them 
to find what they really want. He is a helper, not a slot machine. 

Many people possess a thousand acres of possibilities and have 
only half an acre under cultivation. 

One of the biggest opportunities open to ambitious salespeople is 
to learn how to sell two articles instead of one. The salesman’s face 
is his fortune, when he smiles. Did you ever go into a store and have 
a salesperson approach you with one of these cold, down in the mouth, 
“What do you want?” looks, as much as to say, “Why do you bother 
me?” Now frankly, what did you think of that store or individual? 
I know what you thought, and I know what little you bought, but 
here’s the point. That salesperson who was the store representative, 
really misrepresented the store, because there was not the least bit 
of sunshine on his or her face, no smile of welcome in the approach, 
no favorable impression made. Then again I have gone into stores 
w r here I felt like buying because that cheerful smile told me I was 
welcome. 


Don’t Be a Clock Watcher 

Clock watchers are those who look upon their business hours as a 
sort of daily sentence at hard labor, as a necessary evil, to be gone 
through with because they must. It’s like one bad potato in a barrel, 
pretty soon the whole barrel is infected. It must be prevented by 
workers themselves. If they wish to escape a life sentence of routine 
drudgery, or to win the satisfaction and rewards of advancement. It 
is to prevent. The whole prescription is nine words—Keep Your Mind 
On Your Work During Working Hours. But watch the hands of a 
clock, they travel always, but where do they get? 


65 


Every customer’s mind is like a safe. Some are more stubbornly 
built than others. A woman isn’t really interested only in a hairdress, 
except how she will look and what impression she will make upon those 
whom she wishes to please or make envious. She is also interested in 
the cosmetics you sell. 


Publications Pertaining to Beauty Culture 

The American Hairdresser , Brooklyn, N. Y., published (Monthly), 
illustrated and fashion plates. 

Beauty Culture , New York City, published (Monthly), illustrated 
and fashion plates. 

Barbara Burke's Beauty Journal, New York City, published 
(Monthly) illustrated and fashion plates. 

The Barbers' Journal , N. Y. City, published (Monthly). 

Beauty , Jamaica, L. I., N. Y., published (Monthly) by the 
Brewster Publications, Inc. 

The American Almanac , New York City, (Semi-Annually) publica¬ 
tion. 

Western Beauty Shop , San Francisco, Cal., published (Monthly). 

Modern Beauty Shop , Chicago, Illinois, published (Monthly). 

The Pedic Items , New York City, (Monthly) publication for the 
benefit of Podiatry (Chiropody). 

The Colored Barbers' & Hairdressers' Monthly , Chicago, Ill. 

Hairdressing Fashions , published in London, England. 

Elegante , Barcelona, Spain, published (Monthly). 

Hairdressers' Weekly Journal , London, England, with which is 
combined their former supplement. 

Le Capilariste. A (Monthly) journal (in French—some English) 
exclusively for hairdressing and beauty parlors. 

La Coiffure de Paris with supplement. A (Monthly) journal (in 
French). 

La Coiffure Francaise , illustrated (in French—some English). 

Bruxelles — Coiffures , published (Monthly), (in French), in 
Belgium. 

Deutsche Allgemeine Friseur-Zeitung , published (in German), in 
Berlin, illustrated, Fashion plates, (Semi-Monthly). 

Der Deutsche Friseur , published (in German), in Berlin, (Semi- 
Monthly). 


67 





( 


68 


> 

/■ 


Tite Above Engraving Shows a Part or Our Office (1910) 
















tn 

-M 

C/3 


co 

fa 

O 

1-3 


O 

w 

fa 

w 

fa 

& 

o 

fa 

o 

» 

o 


fa 

03 

'G 

03 

4-> 

as fr : 

fa 2 
^ 2 

a; 


a; 

a 


o 


</J 

o 


fa 

fa 

QJ 


fa 

- 03 

<5 

a> S 

Ph 

G 

fa rS 
** 

fe 

M 

* S3 

> 

< 

£ 

£ £ 
o 

fa 03 

«*H fa 

fa 

r3 2 

fa 

u 

fa 

a « 

as p, 


r\ 

H 

fc 

world 

Vbove 


03 

5 # 

^ fcG 

c s 

•-N 

g 

•M 

c/3 03 
03 fa 
G -*-* 

'S n 
a) 'C 


0) -G 

G fl i 

° > 
X C8 

»—* r- 

03 

-M 

fa2 

G 

O 

ns 

G 

D 


69 


« 

* 








































, 1 i i 1 y , 


7 * 







1 

iMm 




Lir \ %£L ^ 

it' T^_ ^ 

|kX, %. 1 




k j 


r 


* 


70 


Attend a School of Which You Would Be Proud To Be a Pupil 

Above picture was taken the year 1905. An old school—a reliable school. 




































G 

bU 


a; 

fa 

o 



CO 

fa 

o 

r a . 

G *C 

M 

fa O 

r< 

05 

< 

rv rH 

ft 

1 

G 

O t 

1 

Q 

•G * 
G QJ 

fa 

fa 

O 

p ^ 


a; 

£ 

g fa2 

rG -fa 

CO 

•N 

•fa 

G 

fa 

G ^ 

fa 

fa 

•B 

fa 

K 


o 

u r „ 

PS 

5 3 

• 

fa »> 


o 

fa 

ft 

fa 

o 

<0 
C£3 

3 

fa 

o 

K 

u 

CD 

fa 

O 

fa 

& 

o 

fa 

O 


fa 

<u a; 

4 -> fa 

G 

rfa 4 -» 

s.a 

& p* 
<u a) 

-fa > 

fa o 

•fa n 

fa 

g co 
> a> 
a; -G 

fa 

>>G 

TJ g 

fa o 

<u ^ 

G 




G 

0 ) 

co 

QJ 

fa 

ft 

<U 

PS 


71 












Another gigantic ship sailing to Europe with 3,000 passengers and 
Beauty Parlors equipped by Prof. Rolirer’s School 


We were the first and only school which can look back with the 
most profound gratification and pride of being exclusively chosen to 
equip the great liners that traverse the oceans from continent to con¬ 
tinent with hairdressers, manicurists, massage operators and full 
equipment; namely the following ships: 

“George Washington/’ sailing between New York, London, Paris, 
Bremen. 

“Kaiser Wilhelm II,” sailing between New York, London, Paris, 
Bremen. 

“Kronprinz Wilhelm,” sailing between New York, London, Paris, 
Bremen. 

“Kronprinzessin Cecilie,” sailing between New York, London, 
Paris, Bremen. 

“Konigin Luise,” sailing between New York, Gibraltar, Algiers, 
Naples, Genoa. 

“Berlin,” sailing between New York, Gibraltar, Algiers, Naples, 
Genoa. 

“Prinz Friedrich Wilhelm,” sailing between New York, Plymouth, 
London, Bremen. 

“Imperator,” sailing between New York, London, Paris, Hamburg. 

“Rotterdam,” sailing between New York, Rotterdam—Holland, etc. 

“Leviathan,” sailing between New York, London, Paris, Bremen. 

As well as Pullman car trains throughout the continent. 


72 




Rohrer’s Famous Publications 


WW book i- 

An absolute necessity for Beauty Culturists the greatest assistant 
to pass State Board examinations wherever required. Part of Con¬ 
tents: Marcel—Water—Permanent Waving and Hair Bobbing—Hair 
Straightening Formula for Kinky Hair — historical and up-to-date 
coiffures—shop window dressing—salesmanship with 64 splendid 
illustrations including 6 full-sized beautiful colored plates. 

Bound in Vellum de Luxe Cloth, gold stamped, price $3.00 for 
U. S. A. and Canada; $3.25 elsewhere. 

mt book n - 

Part of Contents: Hairdyeing — Bleaching — Henna — Care of 
Hair and Scalp — Baldness — Anatomy of Face and Scalp — Facial 
Massage — Manual — Vibration — Vacuum — Electrical Prismatic 
Ray —High Frequency Violet Ray — Colored Lights — Packs — 
Masks — Beautifying — Manicuring — Anatomy of Nails — Elec¬ 
trolysis — Removal of Superfluous Hair — Moles — Warts — Forms 
of Electricity — Battery Volts — Ohms — Amperes — Bacteriology 
— Sterilization — Sanitary Laws — Rules, Licenses — Renovating 
Wax Figures — Salesmanship — including 30 beautiful illustrations 
and 2 elegant colored plates showing muscles — arteries and nerves 
of scalp, face, neck and shoulders. 

Bound in Vellum de Luxe Cloth, gold stamped, price $3.00 for 
U. S. A. and Canada, $3.25 elsewhere. 

MT b ook iii. 

Part of Contents: Celebrated Handbook on Scientific — Majestic 
Beauty Formulas — over 200 superior formulas with directions for 
mixing creams, powders, salves, ointments, tonics, lotions, rouges, hair 
dyes, restoratives, etc. An absolute necessity to any Cosmetologist. 
A Real Money-Maker — Price $2.00. 

Mp BOOK IV. 

Scientific Chiropody — a world of knowledge — embodies over 
one thousand questions and answers in anatomy — physiology, thera¬ 
peutics, chemistry, minor surgery, bandaging, etc., to prepare students 
for State Board examinations. Price $2.00 for U. S. A. and Canada, 
$2.25 elsewhere. 

MT book v * 

Smaller Edition in Chiropody, price $1.00. 

PUBLICATION No. 6. 

Scientific Body Massage and Swedish Movements printed in 20 
Lectures with 44 elegant illustrations in text. Price $2.50. 

Above works will give you thousands of dollars worth of sterling 
knowledge as proven by 30,000 successful ROHRER’S Graduates. 
Send for them to-day and quadruple your Earning Power. 

73 




Leading Professional Firms 



No. 1013. Beauty 
Lamp or Radio Bell, 
nickel-plated reflector 
with wood rim to pre¬ 
vent burning the skin, 
with 3 lamps — red, 
blue and plain, $6.00. 



No. 25. Violet Ray 
High Frequency Ma¬ 
chine, latest type 1- 
piece design with fine 
regulation of current 
strength. Guaran¬ 
teed. Price with fa¬ 
cial glass electrode, 
$10.00. Rake Elec¬ 
trode for scalp extra, 
60 c. 

Extra Facial Elec¬ 
trodes at 40c. each. 



No. 138. Massage Chair $40.00 


Prices of materials are still lower; slowly but surely they are drop¬ 
ping. Railroad deliveries are approaching previous schedules and busi¬ 
ness is good for all who give real service at reasonable prices. Users 
of electrical materials have been slow to relinquish their war-time 
profits and have even raised prices lately; but we have cut our profit 
on these goods to the bone, and offer these very low prices. 

Please note the illustration of our new factory buildings; this will 
quadruple our production and add promptness to the service we give 
you. Also, note the address of our new showrooms in Los Angeles 
and San Francisco for the convenience of our patrons in that vicinity. 
And last but not least, our new warehouse in New York City is filled 
with goods for immediate delivery in that locality. We sell direct from 
factory to you at the same small profit that a manufacturer must get 
from a dealer. We pay no commissions and employ no travelling men; 
and no dealers or jobbers, and no factory selling through agents and 
dealers can make you as low prices as ours. For over twenty years Art- 
Aseptible Furniture has been the standard line; all joints are electric 
welded, enamel finish of highest quality. 

You may buy on the monthly payment plan and make the improve¬ 
ments of your income resulting from the new equipment more than pay 
the small installments. We guarantee every article to be satisfactory 

or subject to return. 



Aseptible 


SEND FOR CATALOG 
AT ONCE 



Factory 6700 Vernon Place, St. Louis, Mo. 
Salesroom 116 S. Michigan Blvd., Chicago 
Salesroom 1732 Chestnut St., Philadelphia 
Salesroom 1118 Euclid Ave., Cleveland, Ohio 
Salesroom 16 West 50th St., New York 
Salesroom Los Angeles Salesroom San Francisco 


74 





















Leading Professional Firms 


01 -SHELTON 

with a SHELTON 

Made for Any Electric Light Circuit 



No. 20 — Shelton Violet Ray. 
Price complete, $12.50. For a low 
price Violet Ray the machine is 
made for service and we highly 
recommend it. 



No. 23—Shelton Violet Ray, 
Laboratory model. Price 
complete, $25.00. This Shel¬ 
ton Violet Ray is the finest 
machine of its kind made in 
the world. 



No. 202—S h e 11 o n 
Cabinet Violet Ray. 
This is very com¬ 
plete, as it has a reg¬ 
ulating dial that tells 
what degree of cur¬ 
rent you are getting. 
We believe this to 
be the finest two- 
piece machine made. 


SHELTON ELECTRIC CO. 

16 E. 42d St., N. Y. 30 E. Randolph St., Chicago 


75 










Leading Professional Firms 


THE MANICUREX 



Price: $2.00 


Patented U. S. April 9, 1918. 

A container for cotton and manicure 
preparations. Banishes loose bottles 
and jars from your tray. 

Pleases Patrons—Shows That 
You Are Up-to-Date 

The Manicurex soon pays for itself in 
the material it saves. Keeps your prep¬ 
arations free from dust and dirt. In¬ 
creases your ability to do good work 
quickly. 

For sale by all leading Hairdresser 
Supply Houses. If your dealer can’t 
supply you, WE CAN. 

Made only by 

THE MANICUREX CO. 

INDIANAPOLIS, IND., U. S. A. 


EVERYTHING FOR THE 
HAIRDRESSER 

and 

MANICURIST 

Marcel and Water 
Waving Combs, 

Nets, Brushes, Marcel Irons, 

Cutlery, Tweezers, 

Beauty Parlor Equipment, 

Violet Ray Machines, 

Vibrators, Dryers, Etc. 

L. BRODY 

1091 ST. NICHOLAS AVE. 

NEW YORK, N. Y. 


Everything for the 
jjeaut^parlor 



EQUIPMENT-HAIR^ 
GOODS-SUPPLIES 
ACCE SSORIES 

Write for our big 
free Catalog 

O fuTHouse 

WG>\ att 

156160 West 54th street 

S r eiv York -JV Y 



FOEN 

Electric 
Hair 
Dryer 

More than 
250,000 in use! 

Ideal Dryer 
for Hairdresser 
and Barber 

FULLY GUARANTED! 

Insist upon original Foen. 
Trademark stamped on casing. 

SANITAX ELECTRIC CO. 

143-147 East 23rd Street 
NEW YORK, N. Y. 


76 





























Leading Professional Firms 


UNIVERSAL HAIRDRESSING BOOTHNo. 1 

This booth is made of hardwood. Panel-work attach¬ 
able to two or more booths. No carpenter needed— 
you yourself can put this booth up as you would a 
bedstead. Comes in standard patterns in two sizes, 
6 ft. x 6 ft. or 6 ft. long x 7 ft. deep, with sliding mir¬ 
ror. Hairdressing, shampooing, massage, etc., all 
can be done in the one booth without disturbing the 
customer. Finished in French gray, cream color or 
white enamel. 

Booth with Sliding Mirror and Shelf, 


Lavatory and Curtains. Price $160.00 

Sliding Mirror only. Price 60.00 

Lavatory only. Price 40.00 


Without curtains, $10.00 less. With an order of two 
or more booths we allow an extra discount of 10% 

HOLLAND & O’DONNELL 

Ask for Our Latest Catalogue 101 WEST 42nd ST., N. Y. City 


77 












































































































































































